did the Isleys actually record in Detroit?

[steve w]

sorry to be a bit vague but I am sure I read somewhere that they got tapes sent to them and they actually put the vocals on in New York, or T-Neck?

I haven't seen any pictures of them at Grand West Boulevard?

any info would be well appreciated
kind regards

steve:confused:

[RossHolloway]

Great question and one I don't have the answer to.

[keith_hughes]

Yes, it was an interesting question, so I thought I'd take a quick peek at the session logs. It has an interesting answer.

I counted 67 songs they cut during their tenure at Motown. Every single session was held either at Studio A [[Hitsville) or Studio B [[Golden World) in Detroit.

Off hand [[I stress that "off-hand"), I can't think of a single Motown act of that stature [[2 LPs, 8 singles) who recorded for the company during the sixties and who never recorded outside Detroit - in New York, Chicago, Los Angeles or anywhere else. Remarkable.

[woodward]

Yes, it was an interesting question, so I thought I'd take a quick peek at the session logs. It has an interesting answer.

I counted 67 songs they cut during their tenure at Motown. Every single session was held either at Studio A [[Hitsville) or Studio B [[Golden World) in Detroit.

Off hand [[I stress that "off-hand"), I can't think of a single Motown act of that stature [[2 LPs, 8 singles) who recorded for the company during the sixties and who never recorded outside Detroit - in New York, Chicago, Los Angeles or anywhere else. Remarkable.

There is the answer from the world's leading expert on Motown recordings and artists.

[keith_hughes]

Hey, Woodward! I was given access to the logs etc by Harry Weinger and Andy Skurow, and they taught me how to use them; we're all equal experts as far as the paperwork goes. The Boy From Crosstown has forgotten more about Motown than I'll ever know, and The Old Miner and Paul Nixon aren't far behind him. And there are many other folk, mostly resident in this parish, to whom I regularly turn, and defer to, on their own specialist subjects.

I decline that title, with thanks and blushes!

/k

[psychedelic jacques]

Keith,

i've just checked their entry in DFTMC, and you have 44 tracks listed, so can you tell us anything more about the 'other' 23? Can we assume many are incomplete/unfinished tracks listed in the session logs, or is there some scope for thinking there could be an 'unreleased tracks' cd sometime in the future?

[steve w]

Thanks Keith,
You obviously read my thoughts cos I am trying to research Brenda Holloways early recordings as I thought they were in LA - back to the drawing board on that one as well
many thanks for your replies

[soulwally]

So where does this leave Seek And You Shall Find, from the This Old Heart Of Mine album? Written by Hunter and Stevenson, and produced by them, it doesn't sound like a Funk Bros band track from Studio A.

[kje71]

Always fascinating info from you Keith. Are these session logs archived in a digitized form of some sort, other than DFTMC of course? Great history all around!

[bradburger]

So where does this leave Seek And You Shall Find, from the This Old Heart Of Mine album? Written by Hunter and Stevenson, and produced by them, it doesn't sound like a Funk Bros band track from Studio A.

It sounds to me like the backing track to 'Seek & You Shall Find' was cut in New York.

Cheers

Paul

[steve w]

Interesting debate this, which fascinates me but then I am an old soul nut
Paul theres a few tracks which sound dubious but as with all Isleys stuff it seems you have dig very deep. I await with interest for any more info

[keith_hughes]

Psychedelic Jacques: I should have said, 67 songs they were ASSIGNED. Almost everything that was mixed has been released, only alt versions remain. Of the unmixed tracks, someone would have to listen to find out whether they cut vocals: some, I know, are band tracks only.

Soulwally & Bradburger: "Seek And You Shall Find" is a bit of a mystery to me. Logs say that that Marvin's version was cut in New York, and the Isleys simply dubbed in their vocals. But the tracks are very different, as I'm sure you know. Was the band track for the Isleys cut in New York at the same session as Marvin's? I don't know. But it seems clear that the Isleys vocals were cut in the Pit.

Isn't the Isleys' version just sensational? The cymbal crash on the six-beat, repeated right through the song, makes it absolutely compelling listening. Can't think of another song, let alone a Motown song, that uses that "trick". And as for the strangled trumpet [[??) "whoops" that come in after the bridge ... THANK YOU for causing me to listen again to this. A masterpiece.

[MIKEW-UK]

If you have not read this Blues and Soul interview with Ronald Isley, it will be of great interest. I have posted this under the Motown forum as Ron talks specifically why they left Motown and an interesting fact on " I Heard It FromThe Grapevine."

http://www.bluesandsoul.com/feature/870/ron_isley_the_names_isley/